Seated on a George Nelson bench, feline resident Miu Miu gazes through the east picture window at the ongoing construction. Sharing the bench is a quarter-inch-to-one-inch-scale model of the house and addition.
The house’s street-facing west façade. A narrow skylight cuts through the Cor-ten cladding where the roof curves to meet the south wall, bringing cru-cial light into the second floor—and, through an open-ing in the ceiling, also the first floor.
Kim reads the newspaper in the all-white kitchen. White paint, which requires fewer coats than color, was a money-saving strategy. The desk chairs and aluminum lounge chair are both Eames, courtesy of Fernandez’s scavenging.
Upstairs, simple porcelain pieces such as a Kohler toilet adorn the modest master
bathroom. Beneath the downward-pitched ceiling, a polycarbonate-panel wall brings in light from the south-facing skylight behind.
An ingenious floor treatment—slats laid over the ceiling beams—enables the skylight to do double duty, pouring sunlight into the living room below. The translucent bathroom wall turns that into triple duty.
Uni exposed the ceiling beams, formerly concealed by drywall and a kitschy light fixture upon which Schenk would hit his head. They built a platform bed using a couple of hollow doors as a surface for the mattress.